The chromo-luminous spectacles performed on stage by the American dancer Loie Fuller since 1891 will be studied in relation to the development of nineteenth-century psychological theories on the energetic force of coloured light, including “the aesthetic of light” of the French philosopher Paul Souriau. Fuller imitates, through the movements of her skirt, the plant and animal shapes that come to life ideally thanks to an electric lighting system with several projectors that emit coloured rays on the body of the moving dancer. Whilst the interpretation of the biological function of light on living organisms has been developed from nineteenth-century studies on chromotherapy by French and American scientists (such as Camille Flammarion’s “chromo-culture”), Loie Fuller’s electric fééries use the same process of chromotherapy to create a modern embodied experience. Fuller stages the energetic power of light on the excitability of organisms in her dances in order to transform chromotherapeutic practices into what film historian Tom Gunning has defined as the first cinematic spectacle. The body of the dancer in the theater is presented as a device that produces energy, or as a kind of mobile screen capable of projecting sets of moving coloured lights to experiment directly the spectator’s senses.